|
|
Propaganda in Korean animations
Won, Sang-Eun ; KUBÍČEK, Jiří (advisor) ; MERTOVÁ, Michaela (referee)
During the military regime in South Korea from 60's to 90's Korean government implemented strong policies against communism. One of them was anti-communistic education for children. Animation was a very effective method for the education. Under the policy of the government (eduentertainment)anti-communistic animations were produced.
|
|
|
Analyze of imiges from the movie Nocturnal Butterfly
Park, Soyoung ; KUBÍČEK, Jiří (advisor) ; DUTKA, Edgar (referee)
Abstract
"Nocturnal Butterfly" is short animation film which is directed by Raoul Servais. This animation is Servais's homage to Belgian surrealist Paul Delvaux. This paper concerns comparative analysis between the images of Nocturnal Butterfly about male and female, butterfly, mirror, railway station, automaton, last freeze-frame, and motifs of Delvaux's painting.
At first, my research at overall characteristic of surrealism would show that Delvaux's painting shares such characteristic. André Breton who is a key man in surrealism believed that automatism is driving force for artistic creation, so he thought we must look into the unconscious and world of dream to create new aesthetic reality and to comprehend reality just as it is without prejudice caused by reason and rationality. Especially he tried for liberation of the consciousness through automatic drawing, collage and depaysement in surrealistic painting. Delvaux with Magritte used depaysement to give psychological shock to appreciator, so he used mythology as motifs to draw inner landscape unfamiliarly and mysteriously. And though idealized images of women he expressed own desire.
After, I would review other works of Raoul Servais. He has expressed own view in various ways by using new approach for each work. Through criticism at human civilization and mythicism of desire he has utopian attitude even though he has criticized absurdity of actuality circumstance. Nocturnal Butterfly has atmosphere fascinating and mysterious but unfamiliar than clear messages. It seems that the atmosphere of the work considerably results from images taken from Delvaux's painting. And Nocturnal Butterfly shows ambiguous and unfamiliar feeling of surrealism using shooting mode of live action films and photographic images.
Next, I would review images in Nocturnal Butterfly. Delvaux expressed idealized images of male and female as his central figure motives, but Raoul Servais expressed images of male and female as earthly images in Nocturnal Butterfly. Woman with movement in Nocturnal Butterfly is waiting someone and reacting to eyes from man rather than she is idealized being. But She is also mysterious being. She is dancing with another self appeared from mirror as her double, in fantastic and fascinating time. But when train in reality arrives and a man appears, the time is over. The man wearing a hat in Nocturnal Butterfly is like Delvaux?s self-image mixed with scientist and gentleman. The man watches the object of desire, and possesses the object. Delvaux?s painting as last scene in Nocturnal Butterfly seems to be index of photograph image displayed from both surrealism and movie. So it informs that this animation is not over but continues to a piece of reality. The result of analysis of the images in Nocturnal Butterfly shows that Nocturnal Butterfly is the most fascinating and mysterious new animation with weakened completion of narration unlike other works of Raoul Servais.
|
|
|
Animation oeuvre of Libuše Čihařová
Bohuslav, Jan ; KUBÍČEK, Jiří (advisor) ; MERTOVÁ, Michaela (referee)
This thesis deals with the animation oeuvre of Libuše Čihařová. The first part describes the history of Afit and Studio Bratři v triku and the first experience of Libuše Čihařová in Studio Bratři v triku. The next part is devoted to her drawing
and animating work in 1950?s and 1960?s. The third part deals with beginning of Večerníček, a TV programme for children and also short films and serials that Libuše Čihařová animated. The last part id devoted mostly to her works as a director and a pedagogue.
This thesis also explores acknowledged films and great directors with whom Libuše Čihařová worked. Two intervews with Libuše Čihařová are parts of the thesis.
|
|
|
Mamoru Oshii and his Ghost in the Shell
Hoffová, Michaela ; KUBÍČEK, Jiří (advisor) ; DUTKA, Edgar (referee)
This undergraduate thesis deals with an in-depth analysis of the animated film Ghost in the Shell by Mamoru Oshii. It approaches this film from the most relevant perspectives of its production in relation to the medium in which it was created. This analysis breaks down the relationship of the film to the work, style and national culture of its creator, to the cyberpunk genre and to the theme and philosophy which this film deals with. This thesis enlightens the reader to understand the symbolical meanings of the films imagery and narative structure as well as its technical aspects, regarding both the animation technique, sound, music and voiceover as well as its visual aspects analysed in context with the style and distinctivness of japanese animation. The film, with its thought-out detailed structure is intertwined with symbols and hidden meanings, which do not have to be straightforwardly understandable by the viewer. The aim of this thesis is to explain these meanings not only in the relation to the themes with which it deals, but also in the context of the unique culture and traditions of the country in which it was produced. The final part of this thesis also refers to the legacy and influence of this film on other filmmakers all around the world within the boundaries of the cyberpunk and sci-fi genre.
|
|
|
Live-action Film Puppet
Máj, Martin ; KUBÍČEK, Jiří (advisor) ; KLOS, Jan (referee)
The topic of this thesis is the live-action film puppet that has evolved
from the theatrical puppet. In contract to the animated puppet, the
purpose of the non-animated puppet is to create live-action motion. As of
now there were no attempts to formalize the theory of this cinematography
field. The first step towards this goal is to divide the puppets into the
following technological categories: marionette, hand puppet, animatronic
puppet and costume and digital puppet. Several types do not clearly fit
any of the above criteria and are thus described in the chapter entitled
?atypical puppets?. Puppet types are demonstrated on their example movies.
The thesis further deals with the correct placement of the puppet to the
scope of the movie which is closely related to the previously established
puppet categories.
|
|
|
Jim Henson
Cechl, Jan ; KUBÍČEK, Jiří (advisor) ; MALÍKOVÁ, Nina (referee)
Intention of this thesis is to introduce the reader the work of Jim Henson and his contribution of the puppet used in the field of movie and television. It is mapping not only the history behind the puppet called Muppet and the animatronic characters but also describes their characteristics in the style of Jim Henson. First part is dedicated mainly to his person and is about introduction of Jim Henson to reader unfimilliar with his cult. Contains brief biography and splits his work into three life stages. The second part is about Muppet phenomenon, what is the Muppet, his characters, his style and the technology in the relation to movie and television and Henson success in this field. The third part is about Henson animatronics, Henson relation to the first appearance of this technology and analyzes its impact and its success in the field of movie and television for Jim Henson and his Creature shop. The last part is dedicated to Jim Henson Legacy.
|
|
| |
|
|
Michaela Pavlatova
Delgado, Laura Victoria ; Kubíček, Jiří (advisor) ; Dutka, Edgar (referee)
The purpose of this text is to reassess the animation like an aesthetics human practice even out of the cinematographic field. An important resource are the Semir Zeki`s investigations about neuroaesthetics. Im going to review the origin and historic course of animation from the prehistory, bearing in mind the human evolutive process of perception (body-brain) and the human development from childhood that makes possible the existence of the animation.
For that, as example, Im going to put into context the animated Films of the czech filmmaker Michaela Pavlátová. Her live related to animation and the characteristics of her Films will appear as motive(motivation) to expand ideas like how the environment can influence the way to represent the space, or the relations between politic and czech animation, or how works the perception of color in the brain, or the importance of the faces in social relationships, and how that motives appears and becomes art across author hands.
|
|
|
Lesson Švankmajer
Kim, Eun Sue ; Ulver, Stanislav (advisor) ; Kubíček, Jiří (referee)
Jan Svankmajer has been repeatedly derived images of people who repress freedom of individuals and the oppressed people from several literary works and writings in his films.
In this regard, 'Lunacy' is one of the representative works.
This paper analyzes his perspective on freedom focusing on his film 'Lunacy' which crammed with motifs and symbols of freedom and repression, insanity and punishment.
Perhaps people of our current era may find something in common with the oppressed characters in the old novels.
It is a search for the answer of the abstract question, 'What is freedom?' borrowing and sharing an individual, Jan Svankmajer's vision.
|
|
|
A family animation film as a phenomen of today
Hájek, Tomáš ; Kubíček, Jiří (advisor) ; Koutský, Pavel (referee)
This work follows a family animation feature film. A reader will know sequencial progression of a family animation film from history to recent years. He will meet the first family films in the world and in the Czech Republic. I will mention a family television production too. There will be a psychologist opinion and what a human likes in his age. I hope this work will useful for everyone who wants to know more about that theme.
|
guest ::
RSS feed.